Absurd
Werwolfthron
[ABS]
The notorious German NS band's latest album, although the material here is actually from 1995. I never really try to explain to people why I have always loved Absurd so much (yes, including Asgardsrei) - something about the music here is just very youthful, fiercely passionate, completely immature yet unbelievably forthcoming. I can remember years back when I went into a secondhand metal and punk shop (those who know me well know I like to tell this story) and bought both original cd versions of Facta Luquuntur and Blasphemy's Fallen Angel of Doom used for $7 each; it's strange that back then nobody really seemed to care, and nowadays everyone proclaims them as "kult" and invests hundreds of dollars into owning them. It sort of makes you wonder what other "kult" items people are going to be giving up small fortunes for five years down the road.
Anyway, I'll kill the reminiscing and get on with the review. Facta Luquuntur was more mind-numbingly addictive than I ever could have imagined at the time, flowing with some sort of supernatural black metal/punk cohesiveness that reflected rebellion, National Socialism, and epic struggle. Werwolfthron continues on in a similar style, sometimes described as a "fusion of Discharge and viking Bathory," though I'm not sure that's entirely apt as most of these tracks have a much more doomish, muddled atmosphere than the aforementioned bands produced. Like previous Absurd, it is also dissonant and folkish oriented, showcasing an admiration the group seems to portray for their country's older music. However, Werwolfthron is also different in many aspects to any of the Absurd I've ever heard; it moves through much faster, is sung entirely in German, and of course seems much more coordinated and direct (as Facta Luquuntur was a coalition of mostly demo and rehearsal songs), with less layered melodies, and less intricacy. These respective contrasts make it very difficult to choose one over the other, though I suppose the thoughtfulness in the early work does have a greater affect on me.
Werwolfthron opens with a fairly classic bagpipe intro, somewhat enchanting although I really would have preferred it to be colder and more hollow sounding (put us back in that "Deep Dark Forest" again). The first song, "Über die Gräber hinweg," is completely rocking and gives a pretty good impression of what much of the remainder of this will sound like. The third track is performed in a similar fashion, but "Asatr'U" becomes enveloped in that doomish resonance I was speaking of before (remember that unreleased Absurd song "Vampire?") and "Pavane" turns to bagpipes again before moving into the unbelievable "Die Kathedrale." "We don't believe in God (YHVH)" is about as fast and cruel as Werwolfthron becomes before completely flipping into the melodic piece "Die Ruhe vor dem Sturm," and the next few songs (accompanied by some more tranquil interjections and a barrage of gunfire at one point) resurface the punkish nature once again. "Heaven in blood" closes the album before a final bagpipe outro, with some stunning black metal vocals that escalate up through the music like a rabid dog, finishing off a release that is more or less phenomenal and as good as I was expecting.
Extremely powerful, full of pride, and emanating with a vitality and spirit that seems often lost these days.
© 2002 hando
Anyway, I'll kill the reminiscing and get on with the review. Facta Luquuntur was more mind-numbingly addictive than I ever could have imagined at the time, flowing with some sort of supernatural black metal/punk cohesiveness that reflected rebellion, National Socialism, and epic struggle. Werwolfthron continues on in a similar style, sometimes described as a "fusion of Discharge and viking Bathory," though I'm not sure that's entirely apt as most of these tracks have a much more doomish, muddled atmosphere than the aforementioned bands produced. Like previous Absurd, it is also dissonant and folkish oriented, showcasing an admiration the group seems to portray for their country's older music. However, Werwolfthron is also different in many aspects to any of the Absurd I've ever heard; it moves through much faster, is sung entirely in German, and of course seems much more coordinated and direct (as Facta Luquuntur was a coalition of mostly demo and rehearsal songs), with less layered melodies, and less intricacy. These respective contrasts make it very difficult to choose one over the other, though I suppose the thoughtfulness in the early work does have a greater affect on me.
Werwolfthron opens with a fairly classic bagpipe intro, somewhat enchanting although I really would have preferred it to be colder and more hollow sounding (put us back in that "Deep Dark Forest" again). The first song, "Über die Gräber hinweg," is completely rocking and gives a pretty good impression of what much of the remainder of this will sound like. The third track is performed in a similar fashion, but "Asatr'U" becomes enveloped in that doomish resonance I was speaking of before (remember that unreleased Absurd song "Vampire?") and "Pavane" turns to bagpipes again before moving into the unbelievable "Die Kathedrale." "We don't believe in God (YHVH)" is about as fast and cruel as Werwolfthron becomes before completely flipping into the melodic piece "Die Ruhe vor dem Sturm," and the next few songs (accompanied by some more tranquil interjections and a barrage of gunfire at one point) resurface the punkish nature once again. "Heaven in blood" closes the album before a final bagpipe outro, with some stunning black metal vocals that escalate up through the music like a rabid dog, finishing off a release that is more or less phenomenal and as good as I was expecting.
Extremely powerful, full of pride, and emanating with a vitality and spirit that seems often lost these days.
© 2002 hando